Miroslav Pavlovic - Biografija
Miroslav Pavlovic je rodjen u Vrscu 1952. godine. Studirao na Institutu za likovne umetnosti "Nikolae Grigoresku" u Bukurestu (Rumunija) 1974-78. u klasi profesora Konstantina Blende. Postdiplomske studije zavrsio na istoj akademiji 1980. godine. Imao je vise samostalnih izlozbi pocev od 1978. godine u Rumuniji, Jugoslaviji, Skandinaviji i SAD. Ucestvovao je na brojnim kolektivnim izlozbama u zemlji i inostranstvu. Radovi mu se nalaze u kolekcijama u Rumuniji, Jugoslaviji, Danskoj, Svedskoj, Norveskoj, Sjedinjenim Drzavama, Japanu...

Miroslav Pavlovic - Curriculum Vitae
Miroslav Pavlovic was born in Vrsac, Yugoslavia, 1952. He graduated from the Institute of Fine Arts "Nicolae Grigorescu" in Bucharest (Romania) 1974-78. in the class of Prof. Constantin Blendea. Post-graduated studies at the same academy he had finished 1980. He had many personal exhibitions since 1978 in Romania, Yugoslavia, Scandinavia and USA. He took part at many collective exhibitions in Yugoslavia and abroad. His works are making part of vast number of collections in Romania, Yugoslavia, Denmark, Sweden, Norway, United States, Japan...

Miroslav Pavlovic - Lebenslauf
Miroslav Pavlovic wurde 1952 in Vrsac geboren. Von 1974 bis 1978 studierter am Institut für bildende Kunst Nicolae Grigorescu in Bukarest (Rumänien) in der Klasse des Professors Constantin Blendea. Das Magisterstudium schloss er 1980 an derselben Akademie ab.Seit 1978 hatte er mehrere selbstständige Ausstellungen in Rumänien, Jugoslawien, Skandinavien und den USA. Er nahm an zahlreichen kollektiven Ausstellungen im In- und Ausland teil. Seine Arbeiten findet man in den Kollektionen in Rumänien, Jugoslawien, Dänemark, Schweden, Norwegen, Japan, in den USA ...

Miroslav Pavlovitch - Biographie
Miroslav Pavlovitch est ne a Vrsac en 1952. Il a termine l'Institut des beaux arts "Nicolae Grigorescu"a Bucarest (Roumanie) en 1974-78, dans la classe du professeur Constantin Blendea. Les études postuniversitaire il les a aussi termine a la męme académie en 1980.Il a en plusieurs expositions indépendantes a partir du 1978. en Roumanie, Yougoslavie, Scandinavie et les Etats Unis. Il a participa a des nombreuses expositions collectives dans le pays et a l'étranger. Ses travaux se trouvant dans des collections en Roumanie, Yougoslavie, Danemark, Norvege, Etats Unis au Japon...

COMMENTS.since.1980 

…accomplished, sophisticated artist. His abstract picture-constructions appear at once original and well grounded in a modern tradition.
Peter Schjeldahl, New York, 1987

...By it's nature Pavlovic`s work slips the instantaneousness; it aims at continuance, includes thourghly reconsidered mode of proceeding, his work requests concentrated, permanent action by reanalyzing his own achievements, and results so far.
Jerko Denegri, Belgrade, 1997

...Pavlovic showed us convincingly, judiciously and with grounding his fully defined concept of painting that is well founded in the now dominating aestheticism of the last traces of modernism, and even in the complex of artistic issues that are currently oriented toward the idea of a new or the second Modern at the end of this century and this grand artistic epoch. And whatever the ultimate answer is to the question of goals and meanings of Miroslav Pavlovic`s paintings, his work will undoubtedly be part of a contemporary art that has truly moved ahead artistic frontiers.
Jovan Despotovic, Belgrade, 1997

   The value of his work, then, lies in its reassessment of this tradition rather than in its destruction. All facets of the West’s most conventional art must be explored and, literally, expanded upon.

Whitney May, New York, 2006

...Za razumevanje Pavloviceve estetike od vaznosti je razlika izmedju likovnosti i slikovnosti. Kod Pavlovica je rec o “cistim” artefaktima u kojima nema ni traga klasicne slikovitosti. Svaki Pavlovicev eksponat je lik za sebe koji ne odslikava nista drugo. Tako shvacene ove Pavloviceve konstrukcije mogle bi da posluze kao primer tautoloske samodovoljnosti na kojoj se zasniva radna praksa aktivista ekstremne avangarde /.../ Njegovi radovi ne ukazuju samo na razliku izmedju likovnog i slikovitog, vec upozoravaju i na suprotnost artificijelnog i estetskog po kojoj se upravo koriguje aksiološki kriterijum sudjenja o tome sta jeste, a sta nije umetnicko delo...
Djordje Kadijevic, 2000
...U ovom opusu postoji jedno duhovno srodstvo i bliska svest sa idejama neoplasticizma (Mondrijan), konkretizma (Duisburg) i americkog minimalizma (Dzad, Levit, Andre). Sa prvim ga povezuje sklonost ka redu i harmoniji kao osnovnoj plastickoj ideji ali i kao “umetnickoj poruci”, sa drugim ubedjenje da je moguce ostvariti konkretnost linije, boje plohe, a sa trecim spremnost da se lapidarnim plastickim jezikom (vise je manje!) ostvari zavidan sadrzinski i estetski potencijal dela...
Sava.Stepanov,.1998
...ozbiljan, izgradjen, iskusan umetnik. Njegove apstraktne slike-konstrukcije na prvi pogled izgledaju originalne i dobro utemeljene u modernu tradiciju.
Peter Schjeldahl, New York, 1987
...Vizuelni objekti, ili "objekti za videti" Miroslava Pavlovica, ostaju konsekventni i savrseni sa stanovista sagledavanja njihovih konstitutivnih principa, apsolutistickih i puristickih, objekti dislociraju a zatim rekonstituisu vizuelnu percepciju, na jedan pikturalan nacin, putem estetskog funkcionisanja vrednog po sebi. Vizuelno obrazovanje koje predlazem implicitno ostaje paradoksalno: dakle, slike cistog vidjenja pojavljuju se kao vizuelno-konkretni objekti, njihova namera je sto potpunije integrisanje u prirodu, tako postaju cisto intelektualna nastojanja, matrice pogleda koje ocekuju objekat. Sadrzaj, objekat, odredjenje, jesu jedan drugi problem, "post festum", onoga koji posmatra to vidjenje vidjenja. Njihova lepota, prociscena i distancirana, govori jednoj drugoj intuiciji...
Magda.Carneci,.1980 -- text in Romanian 
...Supremacija vizuelnog ishodi izuzetnom posledicom, anulira emotivno, lirske reakcije, precizira jednu zajednicku cinjenicu, bez alegorijskih aluzija; ne dozvoljava kolateralna objasnjenja vec afirmise iskljucivo supstancu i funkciju. Takoreci, rad se definise objektivno identican samom sebi, kao i nacin kako se ostvaruje pod rigoroznom tehnickom kontrolom. Rad ne nudi nista drugo do to sto jeste u konkretnom smislu, citacu nece izmaci nemogucnost da transformise analizu jedne slike u sliku koja govori ili sliku govora...
Raoul.Shorban,.1980 -- text in Romanian

Jerko (Jesa) Denegri 1999.

Na jugoslovenskoj umetnickoj sceni devedesetih Miroslav Pavlovic pojavio se iznenada i sasvim formiran, bez ikakvih pocetni(cki)h oklevanja, ili je barem tako izgledalo zato jer se njegovo formiranje odvijalo i do tada obavilo izvan domace sredine (u Rumuniji, gde je u Bukurestu redovne studije zavrsio tokom 1974-78, postdiplomske izmedju 1978-80), a potom se iskusao i postepeno izgradjivao boraveci, radeci i izlazuci na vise grupnih nastupa u skandinavskim zemljama i u Sjedinjenim Drzavama. Sa takvom, dakle, licnom predistorijom Pavlovic se prvi put samostalno pojavio u vrsackoj Konkordiji 1997, potom u novosadskom Zlatnom oku i beogradskom Centru za kulturnu dekontaminaciju 1998. ukljucujuci se odmah u kontekst vrlo indikativnih previranja na domacoj umetnickoj sceni kraja devedesetih, ujedno i samog kraja veka, u okolnostima ponovnih preispitivanja nekih temeljnih tekovina modernistickog umetnickog nasledja, no sada ne vise iz dekonstruktivistickih i simulacionistickih motivacija postmoderne nego, naprotiv, iz neokonstruktivistickih i iznova uspostavljenih formalistickih premisa jedne nove, ili druge moderne koja se kao karakteristicno stanje duha svakako sa jakim razlozima javila upravo u ovo krizno i katastroficno vreme poslednje decenije.
Likovna kultura na kojoj je Pavlovic formiran jeste kultura evropskog istorijskog i posleratnog konstruktivizma i konkretizma za koju je, tu kulturu, svojstveno da se umetnicko delo shvata i izgradjuje kao apsolutno autonomni artefakt, dakle kao delo liseno svake reference na predmetni svet izvan samog dela. A u zamenu za izostalu predstavu, iluziju ili aluziju okolnog predmetnog sveta, samo delo je predmet za sebe, predmet kao takav, predmet estetski, umetnicki, konkretan, kao sto je konkretan svaki drugi materijalni predmet u nasem svakodnevnom zivotnom okruzenju. Umetnik koji je tvorac takvog predmeta graditelj je novonastale plasticke strukture kao simbolicke tvorevine koja u duhovnom mikroprostoru dela upucuje na ponasanje kakvo bi umetnik kao projektant takvog dela zeleo da zagovara delujuci - u skladu sa generalnom ideologijom tradicije konstruktivizma - kao konstruktivna jedinka u fizickom makroprostoru sveta.
No, to su, zapravo, samo opsta mesta i temeljne postavke ideologije i oblikovnog jezika istorijskog i novog konstruktivizma, za svakog autora koji u prihvatanju te ideologije i jezika danas deluje postavlja se zahtev za izgradjivanjem pojedinacnog autorskog profila i njegovog specificnog doprinosa. M. Pavlovic je svoje pojedinacne osobine poceo da trazi i nalazi u podrucju postepenog prelaska od apstraktne slike kao monohromne plohe, kao oslikane dvodimenzionalne povrsine ka slici-objektu koja zadrzavajuci jednobojnu podlogu poseduje jos i svojstva materijalne konstrukcije. A to je obavio tako sto se od plohe kao potpune ravnine uputio u prostor pred tom ravninom aplicirajuci nad plohu trodimenzionalne elemente zahvaljujuci kojima je delo od slike preraslo u reljef, pri cemu je svojstvo reljefnosti osim prisustvom samih taktilnih elemenata pojacano jos i efektom senke koju ti elementi pod dejstvom svetlosti bacaju na podlogu nad kojom su ucvrsceni. U sledecem zahvatu, telesnost slika-objekata postignuta je tako sto je ram (okvir) prestao da bude neutralni pomocni faktor materijalnog sklopa dela i postao je njegov osnovni konstitutivni element. Naime, ram je postao materijalna granica slikanog polja koje jednom ostaje oslikano belim, ili drugi put, ujednacno obojenim crnim, zutim, oker ili plavim, pri cemu na takvoj osnovi likovni element kao sto je linija umesto da je slikan odnosno crtan sada je materijalizovan u vidu celicne sajle ili aluminijumske sipke. a posledica svih tih zahvata jeste da slika definitivno prestaje da bude ravna ploha poput ekrana koji emituje predstavu ili na kome se projektuje forma, nego postaje telo odredjene debljine i zapremine; u takvoj slici prostor poseduje ne vise potencijalnu nego stvarnu dubinu, a na galerijskom zidu postavlja se tako da bude centar ili integralni deo vidnog polja kojega osim obojenosti slike cini i belina okolnog zida.
Iz tradicije neoplasticizma M. Pavlovic izvodi princip horizontalno-vertikalnog polozaja elemenata kompozicije, iz istog istorijskog izvora koristi i sklop osnovnih boja (crveno, plavo, zuto, takodje jos crno i belo), ali ujedno tezi i narusavanju obaveza normativnog pridrzavanja ovih vec kodifikovanih tekovina postavljajuci objekt kvadratnog formata pod dijagonalnim otklonom, a zbog tog nagiba kojim se svesno narusava statika idealne ravnoteze delo poprima aktivniji decentrirani prostorni raspored. Dok se u pojedinacnim objektima pridrzava principa kompozicije, u radovima od secene hartije standardnih malih formata umetnik se pridrzava principa serije, variranja bliskih ali ne i ponavljanja potpuno identicnih formalnih jedinica, sto upucuje na to da je ovde posredi analiticki nacin misljenja, jedna vrsta gotovo naucnicki preciznog ispitivanja i proveravanja brojnih modaliteta koji svi proizlaze iz prividno suzenih ali u postupku detaljnije razrade gotovo neiscrpnih, uvek srodnih a ipak medjusobno dovoljno razlicitih optickih i vizuelnih resenja.
U nastojanju da napravi sledeci i ovoga puta zaista radikalni korak ka elaboraciji problema trodimenzionalne slike, na jednoj grupnoj izlozbi u vrsackoj Konkordiji krajem 1999, M. Pavlovic od zidnog objekta prelazi na zidnu instalaciju nazvanu Evolucija slike I, duzine skoro punih deset metara, visine tri metra, zahvaljujuci drvenoj konstrukciji na kojoj je platno nategnuto udaljenu od zidne plohe skoro do punog metra u sredistu takve, uslovno receno "slike", a zapravo jednog neobicnog oblika napravljanog od dva podjednaka komada impregniranog platna tamnosmedje boje. Platna ostavljenog takvim kakvo jeste, dakle platna neoslikanog nego koristenog jedino u funkciji materijala kao takvog, fabrickog, industrijskog, poput neke vrste ready-madea ovo jedinstveno delo gigantskog formata tvorevina je koja objedinjuje konstrukciju konkretnog oblika sa upotrebom konkretnog materijala, ovo delo dakle pomiruje status novonastalog objekta u tradiciji konstruktivizma i status zatecenog predmeta u tradicija ready-madea, a obe ove operacije zajedno uklapaju se u umetnikovu stalnu preokupaciju da izradi i uradi delo koje se, kao u ovom slucaju, mocno namece u prostoru svojom izrazitom fizickom prisutnoscu, a ipak je pri tome posredi pre svega delo ciste plasticke imaginacije i invencije, ujedno i delo cistog duhovnog sadrzaja i znacenja.
Sve Pavloviceve radove nezavisno od pojavnih razlika objedinjuje, zapravo, jedan temeljni princip: prioritet forme, misljenje formom, misljenje cisto likovno, plasticko, opticko, vizuelno, umesto da bude slikovno, narativno, alegorijsko, literarno. Ali to bespogovorno poverenje u formu niposto nije, naravno, "formalizam" (termin sa negativnom konotacijom), nego je to poverenje u stvari uzdizanje ideala forme na mesto vrhunskog simbolickog znaka sopstvenog dela. A taj znak oznacava pre svega spoznaju da je forma nezamenjivo svojstvo umetnickog rada, forma je tvorevina duha ali i tvorevina operativnog postupka, konstrukt uma i produkt ruke, jedinstvena i usaglasena posledica plasticke misli i oblikovne prakse. U poslednjoj deceniji veka umetnost je poprimila najraznolikije vidove ispoljavanja, posredi je razdoblje kada je u umetnosti fakticki sve moguce i sve je dozvoljeno, ali bas zbog te njene potpune oslobodjenosti savremenom umetniku danas je mozda teze nego ikada da bude strog prema samom sebi i prema sopstvenom umetnickom radu. Evo, medjutim, jednog umetnika koji se spremno pridrzava te samodiscipline, a to cini zato jer veruje da mu je umetnost - i to umetnost lisena svega izvanumetnickog - sasvim dovoljna licno da se izrazi, da opstane kao jedinka sama u svome svetu sopstvenih mogucnosti. Nekada, u istorijsko vreme modernih geometrija i geometrizama umetnost zasnovana na takvim principima idealisticki je verovala u kolektivna iskupljenja, danas pak u ovo postistorijsko vreme postmodernih i neomodernih geometrija i geometrizama umetnost zasnovana na takvim principima ne vise idealisticki, nego defetisticki veruje jedino u umetnikovu usamljenicku pojedinacnost iz koje ipak i uprkos svemu, kao sto pokazuje i primer ovog umetnika, mogu da nastanu i zaista nastaju cista i mocna umetnicka dela.

Text by Jerko Denegri, 1999
Professor of Contemporary Arts Theory at the University of Belgrade, Yugoslavia

At Yugoslav art-scene of nineties Miroslav Pavlovic came up suddenly as a completely formed artist, without any hesitations specific to the begin(ers)ings, or at least seemed so because his formation was developing and up to that time developed outside of our country (in Romania, where in Bucharest he has finished studies during 1974-78, post university studies 1978-80), and after that gaining experience and gradually building out, residing, working and exhibiting at many collective exhibitions in Scandinavia and United States. With such, so to say, personal prehistory, Pavlovic has for the first time individually appeared in Concordia (Vrsac) 1997, after that in Golden Eye of Novi Sad and Center for Cultural Decontamination in Belgrade 1998. Instantly entering in the context of the very indicative turbulences on the domestic art scene at the end of nineties, which means also end of the century, under the circumstances of the new reexamination of some ground achievements of modernistic art heritage, but not any more from the constructivistic and simulationistic motivation of Postmodern but to the contrary from neoconstructivistic and again reestablished formalistic premises of new or second Modern which as a characteristic condition of the spirit with strong reasons appeared just now at the time of crises and catastrophe of the last decade.
Plastic culture at which M. Pavlovic is formed is a culture of European historic and after war Constructivism and Concretism, for witch that culture is specific, that sort of artwork is to comprehend and build out like absolutely autonomous artifact, artwork free of any reference to the external world. At the exchange for missing scene, illusion or allusion to surrounding material world; artwork is object to itself, object as it is, aesthetic object, artistic, concrete just the way it is any other material object in our everyday living suroundment. Artist who is the creator of such object is a builder of newly - made plastic structure; as an symbolic product, in a spiritual micro space of the work is guiding us at behavior which artist should take as an architect of such work wishing to speak in favor and act in accordance with general ideology of constructivist tradition as a constructive specie in a physical macro space of the world.
In fact, these are just general notions and fundamental aspects of ideology and formative language of historical and new Constructivism, for any author who is practicing today, by acceptance of such ideology and language; it imposes claim of building out individualistic personal profile of its specific contributions. Miroslav Pavlovic begin to search and found his personal characteristics in the field of gradual transition from the abstract painting as a monochrome plate; painted two - dimensional surface, to painting-objects holding up uni-coloristic background containing also characteristics of material construction. Work has been realized by departing from the plate, rising up to the space in front of surface; applicating above the plate three - dimensional elements by which the artwork from the painting has developed to a relief, the quality of relief is consisting of tactile elements emphasized by effect of the shadow, as a result of light influence over the surface above which material elements are fixed. The next achievement, corporeality of the painting-object is realized when the frame (holding construction) ended to be neutral assisting factor of material body of the work and became its basic constitutive element. Namely, the frame became material boundary of the painted field which once remains painted white, or other times, evenly painted black, yellow, ochre, or blue, by which at such background plastic element instead of being painted or drawn now is materialized in mode of steel wire or aluminum bars. The effect of all these conduct is that painting definitely ended to be a flat plate such as a screen emitting scene or projected form, but becomes body with certain thickness and volume, in such painting, space is no more potential but real with all possible correlatives of deepness; at a gallery wall work is placed to be center or integral part of the viewer's site; what beside of painted work includes whiteness of the wall, altogether.
From tradition of neoplasticism Pavlovic discerns principle of horizontal-vertical of the composed elements, from the same historic source using primer complex of the colors (red, blue, yellow and also black and white), but at the same time is tending to escape the obligations of normative approchement of these codified achievements by placing object of square form to diagonally vertical position, because of this inclination and consciously disturbed static of ideal equilibrium, work became more active at decentralized space arrangement. As long in the individual objects he is holding with principal of composition, in the works of cut paper of the standard small formats is following the principal of series, variation of close but never repeating of the same identical formal units; what is guiding us, to have it qualified as analytic way of thinking, sort of almost scientifically precise way of examination and re - examination of numerous modalities which are passing from apparently narrow, but in the process of detailed elaboration almost inexhaustible, always related but in between evidently different optical and visual outcomes.
Tending to accomplish next, and this time really radical step towards elaboration of the problem of three - dimensional painting, at a recent collective exhibition in Concordia (Vrsac) by the end of 1999, M. Pavlovic from the wall - object deed pass over to wall - installation called Evolution of the Painting no. I, work is long almost ten meters, high three meters, due to wooden construction on which canvas is tightened departed from the wall nearly one meter at the center, conditionally declared "painting", but actually it is an unusual shape made of two equal pieces of waterproof material (textile) of brown - dark color. Canvas stands the way it is, so to say, unpainted canvas used only in a material function of what it is; of the factory made, industrial, somehow it is a kind of ready - made. This unique artwork of gigantic size is creation that unifies construction of concrete form by using concrete material; actually this artwork is reconciliation status of newly - made object of constructivist tradition with status of the found object in ready - made tradition, both of these operations together are making impact of artist's permanent engagement to build out (realize, make) artwork, which is like this time mighty imposing in space by its exceptional physical presence, after all it is art product of purely plastic imagination and invention, at the same time it is artwork of pure spiritual consistence and meaning.
All works of Miroslav Pavlovic no matter of their appearing difference are unified by one basic principal: priority of the form, thinking by the form, purely plastic thinking, optic, visual, instead of being painted, narrative, allegoric, literary. This undoubted trust to the form is not just "formalism" (term with negative connotation), in fact this is a trust, to lifting ideal of the form at a position of exclusive symbolic sign of individualistic work of art. That sign represents before all, knowlidgement that the form is irreplaceable quality of the artwork, form is a creation of the spirit, but also the result of operative process, construct of mind and product of the hand, unique, and accordingly result of plastic thinking, and formative praxis. At the last decade of the century, art has gained most different forms of expression, it is a question of time where in art all is possible and permitted, but, probably because of such liberation to contemporary artist today is more difficult than ever before to be rigorous to himself, and toward to his artistic activity. So, here it is, an artist who is strictly holding with such self - discipline, he does that because of believe that art to him is-and that disposes art of all that is not art itself - sufficiently enough to express himself, to survive individually (lonely) in the world of very personal possibilities. Once upon a time in a historical period of Modern Geometry and geometrisams art based at such principals idealistically has believed in collective redemption, but today in this post historical time of Postmodern and Neo-modern geometry and geometrisams art based at such (grounds) principals is not any more idealistic, but defeatisticly believes only in artist's solitudes individuality from which in spite of all, like example of this artist shows, it is possible to make, and so, indeed are created pure and mighty works of art.

Das Bild als Kunstgegenstand hat während des Modernismus im 20. Jahrhundert zahlreiche Transformationen erfahren. Diese Veränderungen gingen meistens in Richtung seiner Selbstüberprüfung, Problematisierung eines jeden seiner traditionellen Elemente und formalen Postulate, seiner visuellen Charakteristiken, seines poetischen oder semantischen Inhalts usw.
In der Zeit der historischen Avantgarden am Anfang dieses Jahrhunderts wurde das Bild zuerst in seinem Status angeschnitten durch die Reduktion des komplexen bildlichen Inhalts, der im Laufe seiner langen Geschichte gebildet wurde, als es trotzdem seine wenigstens veränderte Gestalt eines Kunstgegenstandes behalten hat, während es in radikalsten Fällen durch andere Nicht-Kunstgegenstände substituiert wurde, die Autoren mit dem Verkündigungsakt in das ästhetische Feld eingeführt haben.
Dieser Prozess wurde in der Zeit der konzeptuellen Kunst in den siebziger Jahren noch einmal wiederholt mit beiden seiner geschichtlichen Ausgänge. Das Bild wurde nach seinem Selbstmord im Enformel auf seine konstitutiven, primären Inhalte zurückgeführt, während diese Inhalte in einem anderen Kapitel dieser neuen Kunstpraxis analytisch problematisiert wurden von der epistemologischen, ontologischen und axiologischen Seite - im extremsten Falle wird der Kunstgegenstand selbst endlich entmaterialisiert, alle gewöhnlichen ästhetischen Inhalte sind also darin eingebaut, nur daß er nicht finalisiert wurde zu seinem materiellen Zustand.
Einen Teil dieser ästhetischen Aktivitäten des Modernismus könnte man als ein bestimmtes Experiment mit der Bildkonstruktion betrachten. Dieser Prozess wurde in der Epoche des Kubismus initiert und hat sich dann doch an der Oberfläche der Leinwand abgespielt. Der Konstruktivismus im russischen künstlerischen Experiment hat die klassische Vorstellung vom Bild desturiert, indem er es in das Feld des Reliefs bzw. des Objekts einführte, das die Eigenschaften des Bildes und der Skulptur kombiniert: das Bild blieb hier als Echo der Bildlichkeit und die Skulptur erscheint gleichzeitig mit ihrem Volumen, der dritten Dimension, dem Bedürfnis nach Verräumung.
Die Künstler mit aktuellen Ansichten der heutigen Praxis finalisieren diese Prozesse, kombinieren sie, verschränken sie, recyclen sie mit der klaren Absicht, den Status des neuen künstlerischen Schaffens nochmals zu (re)definieren. Ein der Öffentlichkeit völlig unbekannter Maler aus Vrsac, Miroslav Pavlovic, kommt in die Reihe der Autoren, die sich auf eine offensichtlich Problem-Weise gegenüber dem Komplex der ästhetischen Fragen, mit denen sich das laufende Schaffen beschäftigt, gestellt haben. Pavlovic wurde 1952 in Vrsac geboren, studierte an der Kunstakademie in Bukarest und machte 1978 auch sein Magisterstudium dort. Bisher hatte er Ausstellungen in Rumänien, Jugoslawien, skandinavischen Ländern und in den USA. An der Ausstellung in Vrsacer Konkordija zeigte er über 60 Bilder-Objekte und die gleiche Anzahl von Arbeiten auf dem Papier, die im Laufe von 15 Jahren entstanden sind.
Der Raum dieser Galerie selbst ermöglichte es Pavlovic, seine Ausstellung in einige Zyklen aufzuteilen, so wie sie nach einer offensichtlich einzigartigen inneren kreativen Idee entstanden. Man kann sagen, daß Pavlovic praktisch zum denselben Ziel gekommen ist, indem er verschiedene Malverfahren benutzt hat. Eines von ihnen basiert auf der analytischen und primären monochromen Malerei, wenn ihre Basiselemente - Farbe, die piktorelle Schicht überhaupt, das Prozess des Malens - diskutiert werden, die Art des Anstreichens der koloristischen Materie auf den Grund des Bildes und zugleich wird die Leinwandoberfläche im Bild - sein Aussehen, das Vorbereitungsverfahren, die Textur, technische Charakteristiken in diesem Prozess zum legitimen und konstitutiven Arbeitselement promoviert. Das andere Verfahren ist die Strukturierung der Gestalt des Bildes überhaupt, früher sagte man - die Poetik, auf die geometrischen Postulate, und im Laufe der achtziger Jahre handelt es sich eigentlich um eine Art Simulation der plastischen Sprache in den neugeometrischen Syntaxen des späten Modernismus. Das dritte ist der dekonstruktivistische Faktor in den Werken rezenter Produktion, wenn irgendeiner oder alle Inhalte der Malerei zerlegt werden in voneinander unabhängige ästhetische Komplexe, die in einem solchen "fraktalen" Zustand immerhin eine einheitliche Bildvorstellung bilden.
Es ist keineswegs möglich, das Opus von Miroslav Pavlovic in bezug auf seine große Ausstellungsabstinenz als reines Anfängerexperiment mit ungewissem Ausgang zu betrachten. Pavlovic hat überzeugend, verständlich und begründet ein völlig definiertes Malkonzept gezeigt, das völlig in der Ästhetik dieser Zeit fundiert ist, die auf den letzten Spuren des späten Modernismus steht, oder sogar in jenem Komplex der künstlerischen Fragen, die heute theoretisch auf die Idee einer neuen oder einer anderen Moderne am Ende des Jahrhunderts und dieser großen Kunstepoche gerichtet sind. Wie auch immer die endgültige Antwort auf die Frage über die Ziele und Bedeutung der Arbeiten von Miroslav Pavlovic sein mag, wird sein Werk ohne Zweifel in den Inhalt jenes laufenden Schaffens eingehen, das ihre künstlerischen Grenzen wahrhaftig verschoben hat.

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